This study explored the possibilities to design interactions that evoke user interest. On the bas... more This study explored the possibilities to design interactions that evoke user interest. On the basis of appraisal theory, it was predicted that interest is evoked by a combined appraisal of novelty-complexity and coping potential. Because the role of novelty-complexity is well-documented (i.e. a product must be appraised as novel and/or complex to be interesting), the study focused on the role of coping potential: the degree to which one appraises oneself to have sufficient skills, knowledge, and resources to deal with an event. Two workshops investigated how the interest appraisal manifests in the context of human-product interaction in terms of appraisal questions and related product qualities. The findings were used to develop three prototypes of interactive music players. These were identical in terms of appearance, but different in terms of coping requirements during product use. The main study measured the appraisals and emotions of people using the prototypes, using both self-report and behavioral measures. The results indicated that along with noveltycomplexity, a high level of appraised coping potential is necessary for experiencing interest. When coping potential was appraised as low, the respondents experienced negative emotions such as annoyance instead of interest.
Products can evoke pleasurable emotions in several ways: they can be direct sources of pleasure (... more Products can evoke pleasurable emotions in several ways: they can be direct sources of pleasure (e.g., being inspired by a novel car), and indirect sources by facilitating pleasurable activities (e.g., enjoying the thrill of reading a scary story, which is facilitated by an e-book reader). The role of (positive and negative) emotions in human-product interaction and the benefits of design that evokes positive emotions have been discussed extensively in the design research literature (see, e.g. [Crilly et al. 2004]). The discussion shows a general acceptance of the idea that designers, and design processes, can benefit from emotion knowledge (for an overview, see [Demir 2008]), and, related to this, various models, tools and methods have been proposed that are intended to facilitate emotion-focused design processes. Although the development was driven by the motivation to support designers, it seems that not all resulting knowledge and tools have been widely accepted and used in practice. Desmet [2009] observed that most design professionals acknowledged the relevance of emotions, but at the same time many were skeptical about theoretical approach, believing that emotional aspects of product design is the exclusive domain of their intuition, and too elusive to predict. Moreover, Van Boeijen and Daalhuizen [2013] have pointed out that even though suggested emotion-focused design processes are seemingly understandable, using them in practice is difficult, requiring extensive time investments and practice. We propose that even though the tools and approaches have been developed with designers' needs in mind, they have not always been derived from the actual needs and expectations of these designers. For these reasons, the current study attempted to outline the needs and expectations of design professionals with respect to emotion knowledge by giving them the opportunity to express their view on this subject. The main research question was: in the perspective of design professionals, what are the benefits of having a nuanced understanding of positive emotions in product development processes? The obtained insights can help ensuring practical relevance when developing future tools, methods, and guidelines to support designers in incorporating emotion knowledge in their design processes. This paper begins by introducing the topic of nuances of positive emotions and the aim of study. The second section provides a brief overview of stages in product development processes and involved roles, which served as a framework for the study. The third section reports the study, and the final section discusses implications and proposals for future research.
This study aims at understanding the patient's experience in the waiting room of the emergency de... more This study aims at understanding the patient's experience in the waiting room of the emergency department. The research explores and unveils the context and interactions in the waiting room and the factors that cause anxiety. As a result, a service that helps patients moderate anxiety has been developed.
This paper introduces a tool that has been developed to facilitate emotional granularity in desig... more This paper introduces a tool that has been developed to facilitate emotional granularity in design: 'Embodied Typology of Positive Emotions'. Emotional granularity reflects individual differences in the ability to precisely represent and interpret one's own and others' emotional states, referring to distinct emotion words rather than merely to a general feeling of pleasantness. It can be advantageous for designers to have high emotional granularity. In design, the awareness of and ability to label nuances in emotions may facilitate to recognise users' complex emotional responses with accuracy, and to specify design intentions in terms of emotional impact more clearly. The tool supports an understanding of 25 positive emotions by providing definitions of emotion labels, eliciting conditions, and visuals of expressive behavioural manifestations. This paper describes the tool, its development process, as well as ideas for applications in design. Implications of the tool and future research steps are discussed.
This study explored the possibilities to design interactions that evoke user interest. On the bas... more This study explored the possibilities to design interactions that evoke user interest. On the basis of appraisal theory, it was predicted that interest is evoked by a combined appraisal of novelty-complexity and coping potential. Because the role of novelty-complexity is well-documented (i.e. a product must be appraised as novel and/or complex to be interesting), the study focused on the role of coping potential: the degree to which one appraises oneself to have sufficient skills, knowledge, and resources to deal with an event. Two workshops investigated how the interest appraisal manifests in the context of human-product interaction in terms of appraisal questions and related product qualities. The findings were used to develop three prototypes of interactive music players. These were identical in terms of appearance, but different in terms of coping requirements during product use. The main study measured the appraisals and emotions of people using the prototypes, using both self-report and behavioral measures. The results indicated that along with noveltycomplexity, a high level of appraised coping potential is necessary for experiencing interest. When coping potential was appraised as low, the respondents experienced negative emotions such as annoyance instead of interest.
Products can evoke pleasurable emotions in several ways: they can be direct sources of pleasure (... more Products can evoke pleasurable emotions in several ways: they can be direct sources of pleasure (e.g., being inspired by a novel car), and indirect sources by facilitating pleasurable activities (e.g., enjoying the thrill of reading a scary story, which is facilitated by an e-book reader). The role of (positive and negative) emotions in human-product interaction and the benefits of design that evokes positive emotions have been discussed extensively in the design research literature (see, e.g. [Crilly et al. 2004]). The discussion shows a general acceptance of the idea that designers, and design processes, can benefit from emotion knowledge (for an overview, see [Demir 2008]), and, related to this, various models, tools and methods have been proposed that are intended to facilitate emotion-focused design processes. Although the development was driven by the motivation to support designers, it seems that not all resulting knowledge and tools have been widely accepted and used in practice. Desmet [2009] observed that most design professionals acknowledged the relevance of emotions, but at the same time many were skeptical about theoretical approach, believing that emotional aspects of product design is the exclusive domain of their intuition, and too elusive to predict. Moreover, Van Boeijen and Daalhuizen [2013] have pointed out that even though suggested emotion-focused design processes are seemingly understandable, using them in practice is difficult, requiring extensive time investments and practice. We propose that even though the tools and approaches have been developed with designers' needs in mind, they have not always been derived from the actual needs and expectations of these designers. For these reasons, the current study attempted to outline the needs and expectations of design professionals with respect to emotion knowledge by giving them the opportunity to express their view on this subject. The main research question was: in the perspective of design professionals, what are the benefits of having a nuanced understanding of positive emotions in product development processes? The obtained insights can help ensuring practical relevance when developing future tools, methods, and guidelines to support designers in incorporating emotion knowledge in their design processes. This paper begins by introducing the topic of nuances of positive emotions and the aim of study. The second section provides a brief overview of stages in product development processes and involved roles, which served as a framework for the study. The third section reports the study, and the final section discusses implications and proposals for future research.
This study aims at understanding the patient's experience in the waiting room of the emergency de... more This study aims at understanding the patient's experience in the waiting room of the emergency department. The research explores and unveils the context and interactions in the waiting room and the factors that cause anxiety. As a result, a service that helps patients moderate anxiety has been developed.
This paper introduces a tool that has been developed to facilitate emotional granularity in desig... more This paper introduces a tool that has been developed to facilitate emotional granularity in design: 'Embodied Typology of Positive Emotions'. Emotional granularity reflects individual differences in the ability to precisely represent and interpret one's own and others' emotional states, referring to distinct emotion words rather than merely to a general feeling of pleasantness. It can be advantageous for designers to have high emotional granularity. In design, the awareness of and ability to label nuances in emotions may facilitate to recognise users' complex emotional responses with accuracy, and to specify design intentions in terms of emotional impact more clearly. The tool supports an understanding of 25 positive emotions by providing definitions of emotion labels, eliciting conditions, and visuals of expressive behavioural manifestations. This paper describes the tool, its development process, as well as ideas for applications in design. Implications of the tool and future research steps are discussed.
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